《骊山避暑图》屏，清袁耀绘，绢本，设色，纵237厘米，横31.7厘米和57.4厘米。
本幅题：“辛卯二月中浣邗上袁耀拟意”，钤“袁耀之印”、“昭道氏”二印。
骊山在今陕西省临潼县东南，唐代在此建行宫，山北有温泉，初名温泉宫，唐玄宗李隆基时更名为华清宫。玄宗和宠妃杨玉环常在此避暑游玩，演绎出千古爱情绝唱。袁耀根据这段史实，充分发挥想象，绘成此幅巍峨壮观而又风光旖旎的画面。图中的楼阁建筑隐没于群山之间，相互辉映；山石的雄浑与建筑的精巧彼此衬托。
袁江、袁耀不是单纯的界画家，他们对于建筑画的贡献在于开创了将山水与楼阁有机地结合而形成浑然一体的新风格。他们笔下的殿宇楼阁，或以坚实的山岩为依托，或以浩淼的江湖为背景，画山石用斧劈皴、鬼面皴、卷云皴，给仙境般的楼阁构筑出真实可信的空间，而工致细腻、富丽堂皇的建筑也为冷漠的山石增添了色彩与生趣，从而赋予楼阁界画深远的意境和宏大的气势，创造出一种华丽精致的画风，在清前期扬州画家中别具一格。而袁耀在当时文人山水画时代独不为时流所诱的精神更是难能可贵，其建筑画作品无论数量还是艺术水准，在整个界画楼阁的发展史上，都是当时和后来人所无法比拟的。
--------Introduction in English--------
"Lishan Summer Resort Picture" screen, painted by Yuan Yao in Qing Dynasty, silk, color, 237 cm in length, 31.7 cm in horizontal and 57.4 cm in color.
The title of this picture is "Yuan Yao's idea on Xinmao's Raccoon in mid-February", "Yuan Yao's seal" and "Zhaodao's seal".
Lishan is located in the southeast of Lintong County, Shaanxi Province. In the Tang Dynasty, the Xinggong Palace was built here. There were hot springs in the north of the mountain. It was first named Hot Springs Palace, and it was renamed Huaqing Palace when Li Longji, Emperor Xuanzong of the Tang Dynasty, was born. Xuanzong and his beloved concubine Yang Yuhuan often play in this summer resort, deducing the eternal love singing. Based on this historical fact, Yuan Yao gave full play to his imagination and painted this magnificent and beautiful picture. The Pavilion buildings in the picture are hidden among the mountains, reflecting each other; the majesty of the rocks and the delicacy of the buildings set off each other.
Yuan Jiang and Yuan Yao are not simple boundary painters. Their contribution to architectural paintings lies in the creation of a new style that combines landscape and castles organically to form an integrated whole. Their palaces and pavilions, or on the basis of solid rocks, or on the background of vast rivers and lakes, are painted with axes, ghost faces and cirrus clouds to create a real and credible space for fairyland-like pavilions. The exquisite and magnificent architecture also adds color and interest to the indifferent rocks. The far-reaching artistic conception and grand momentum of Pavilion boundary paintings created a gorgeous and exquisite painting style, which was unique among Yangzhou painters in the early Qing Dynasty. Yuan Yao's spirit of not being tempted by the current flow in the era of literati landscape painting at that time was even more precious. His architectural paintings, no matter the quantity or artistic level, were unparalleled in the development history of the whole circle painting Pavilion at that time and later generations.
